


Why Sherlock Cannot Own a Bloody Stradivarius

by ladysassafrass



Category: Sherlock (TV), Sherlock Holmes & Related Fandoms
Genre: Canon Related, Fanwork Research & Reference Guides, Gen, Lemme tell you something about violins, Meta, Rants, Research, Sherlock's Violin, Stradivarius, The Author Regrets Nothing, Violins, the more you know, welp, whoops this accidentally became a research guide
Language: English
Status: Completed
Published: 2014-04-15
Updated: 2014-04-16
Packaged: 2018-01-19 12:37:21
Rating: Not Rated
Warnings: No Archive Warnings Apply
Chapters: 3
Words: 8,735
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/1470103
Author URL: https://archiveofourown.org/users/ladysassafrass/pseuds/ladysassafrass
Summary: <blockquote class="userstuff">
              <p>So stop giving him one for no (good) reason.</p><p>(A quick and dirty guide to the professional violin.)</p>
            </blockquote>





	1. The Rant

**Author's Note:**

> So this is now a 3-part guide/discussion post, divided into the Rant, the Guide, and the Responses. Thank you all for your UNBELIEVABLE response to my rantings, I'm absolutely flabbergasted and overwhelmed and blushing and yeah, you guys are all swell :D

**Notes for the Chapter:**

> This is a rant. A thoroughly-sourced rant, but a rant nonetheless, about a tiny (read: easily fixable/preventable) thing that will always, always, ALWAYS turn me off from any Sherlock fic I read.
> 
> Please consider my arguments, but feel free to ignore it at the end. You do you, you know?

 If you were to pull anyone off the street, chances are they don't have musical talent, but they certainly know what a Stradivarius is. Everyone (at least in the Western world) knows what a Stradivarius is. They're flippin' legendary, equal to the Ferraris of the violin world.

Except, they're not.

The frequency that I see fanfic writers give Sherlock a Stradivarius violin has become alarming. Alarming because I fear that it largely comes from: 

  * A lack of experience in the musical world (which is excusable, because not everyone has a musical inclination. Look at John Watson, for example, and even Sherlock likes him)



OR

  * A lack of research (which, in this day and age, is inexcusable.)



[Some of you well-read folks may argue that Doyle canonically gave Sherlock a Stradivarius violin in [The Adventure of the Cardboard Box](http://www.gutenberg.org/files/2344/2344-h/2344-h.htm). That's great and all, but I'll explain in a bit why that wouldn't work in modern times.]

SO LEMME TELL Y'ALL SOMETHING ABOUT MOTHER-FLUFFIN STRADIVARIUS VIOLINS.

Here's some quick and dirty facts:

  * Stradivarius instruments were made in the 17th and early 18th century by an Italian craftsman named Antonio Stradivari
  * Stradivari made violins, cellos, harps, guitars, and violas.
  * Out of the 1,100 instruments Stradivari made in his lifetime, only about 650 of those instruments exist today.
  * There are a billion and one theories about why Stradivarius instruments (also called 'Strads') have such a renown sound and quality to them. Scientists try to look at the varnish, the quality of the wood, and the shape of the front and back plates, but no definitive theory has been found. ([Source](http://content.time.com/time/health/article/0,8599,1878425,00.html))


  * Most Stradivarius 'owners' are in fact organizations or wealthy patrons, who loan them to famous soloists for their performances. ([Source](https://www.theviolinsite.com/violin_making/strad-violins.html))
  * Famous violinists who are BORROWING a Stradivarius:  
\- David Garrett  
\- Ray Chen  
\- Janine Jensen  
\- concertmasters of some of the world's prestigious orchestras (Berlin Philharmonic, Milwaukee Symphonic, etc.) 
  * Famous violinists who do/did NOT own a Stradivarius  
\- Julia Fischer  
\- Sarah Chang  
\- Rachel Barton Pine  
\- Niccolo Paginini  
( _Note:_ that most of these musicians play(ed) del Gesu violins made by [another Italian artisan](http://en.wikipedia.org/wiki/Giuseppe_Guarneri) and are considered to be equals to Strads.)


  * No two Strads are alike, and each of them have their own name.
  * Some Strads that were made during Stradivari's 'golden period' are worth up to $6 million (or almost ￡3.5 million) ([Source](http://www.forbes.com/2006/04/10/expensive-musical-instruments_cx_mr_0411musicinst.html))
  * To give you perspective:  
\- this [model of the Bugatti Veyron](http://www.topspeed.com/cars/bugatti/2014-bugatti-veyron-grand-sport-vitesse-black-bess-ar163114.html) (capable of 1,200 horsepower for no good reason other than 'why the hell not?') costs $3 million;  
\- this [piece by Claude Monet](http://www.christies.com/lotfinder/paintings/claude-monet-lescalier-5790371-details.aspx) is estimated to fetch only $2.5 million in auction;  
\- this [2-bedroom, 2-bathroom apartment](http://www.corcoran.com/nyc/Listings/Display/3188640) in the Upper West Side overlooking Central Park is just shy of $2.5 million.


  * Quite a few Strads have been stolen (and for the most part recovered) throughout the years, the most recent being the Lupinski that was s[tolen in January of this year and recovered a month later](http://www.cnn.com/2014/02/06/us/wisconsin-stradivarius-stolen/). [Joshua Bell's Strad has a long list of 'owners' before it came into his posession](http://www.joshuabell.com/story-his-violin).



NOW YOU KNOW. DON'T YOU FEEL THOSE SMARTICLES WORKING AROUND YOUR HEAD? OKAY? OKAY.

Knowing all that schtuff, I'm now going to analyze all the reasons why one would own a Strad (and in turn, why it makes no damn sense for Sherlock (the modern one) to own one*:

[* Except in certain precise circumstances. To be explained.]

**1\. It's about their monetary value**

Strads, as we've already discussed, are worth millions nowadays. Most of them belong to organizations who loan them out for soloists to use, or are sold to incredible prices to musicians able to get significant donor-sponsors. Several Strads have been stolen throughout the years because of their immense value (the fact that you really can't sell a stolen Strad because anyone with any appraiser skill will recognize it instantly hasn't stopped thieves from trying). 

I think we all can agree that Sherlock gives less than two shits about money or the monetary value of something. (His assurance to John that he could get a discounted rate for 221B Baker Street in _A Study in Pink_ was just that: an assurance for John, because John does worry about money.)

Some lucky violinists got theirs for just under a million because they bought it two decades ago. Could Sherlock have acquired one then? Remember that Sherlock was a child two decades ago. Why would his parents - who dress, act, and live considerably less posh than their adult sons - buy a hundred-thousand-dollar instrument for a child who likely showed:

  1. much more passion for becoming a scientist than a famous musician
  2. an unbelievable carelessness towards everything that isn't science?



Mycroft could afford one based on his attire and house (shown twice in  _A Scandal in Belgravia_ and once in  _The Sign of Three)._  But he wouldn't, because the heritage that's attached to a Strad would hold no interest to Sherlock, getting into my second point...

**2\. It's about their cultural value**

The world of classical music is weird. While the rest of the world aggressively pursues the latest and greatest thing, classical music worships the past. While high-tech products can lose half their value in three years time, a composer's work often becomes more famous and more prestigious with age, like a fine wine. While Internet start-ups can come and go within months, an orchestra's make-up may not change for years and years. Professional musicians don't go into the field for the money. And so when it comes to a Strad, the price that it could fetch in an auction is the last thing on a musician's mind.

(Except, of course, when they're the ones buying the Strad from an auction.)

Why is a Strad considered so great? As stated in the quick and dirty facts, there are a [billion and one reasons](http://content.time.com/time/health/article/0,8599,1878425,00.html), but none of them really explain why famous musicians, given a choice, will always choose a Strad over a newer instrument of equal quality. That's because it's not about the numbers (or dollar signs). It's the history behind the Strad that attracts musicians and non-musicians to them. Strads are not simple luxuries; they're international treasures. And to be considered _worthy_ of a Strad (just playing one, not even owning) is the greatest unofficial honor one could ever be bestowed in the world of classical music. You join the ranks of the world's greatest string musicians of all time. In a world where the past is revered, to be considered worthy of its heritage is an absolute privilege.

Furthermore, because of a Stradivarius' value, every time one changes hands (buying or borrowing or stealing), it makes the news. The ownership of Strads is publicly documented ([Source](https://www.theviolinsite.com/violin_making/strad-violins.html)) because they're so rare and treasured. Sherlock has no interest in being in the news, especially for something that has nothing to do with his intellect. (Imagine the tantrum he'd throw if his violin got more attention than him. XD.)

In all seriousness though, owning a Strad would mean that he is hounded by Mycroft for his care of it, hounded by the media for his possession of it, and hounded by collectors and famous musicians and auction houses  _all the time._  

And for what? The chance to own a piece of revered history? Sherlock gives no fucks about tradition, heritage, or any of that rubbish. He values things based on their utility, not for any arbitrary value or cultural or monetary worth. So while he may respect things that are immensely expensive (for example. the skulls and the clay pots in the museum in  _The Blind Banker_ ), he most likely would see no reason in owning something so expensive unless it was of value to him.

He treats his violin differently from how a musician treats a Strad, which leads to my final point.

**3\. It's about their nature/purpose**

The quality (read: price) of your instrument increases in proportion to your seriousness as a musician. You get a new violin as your purpose in playing one changes. A student violin is generally cheap and is for learning how to play. A professional violin is more expensive and for playing and performing the violin in a serious arena. When a musician stops being professional and starts treating it like a hobby, they play the violin for their own sake. The violin and the performance are less important.

On the other hand, one does not simply play a Stradivarius violin just because one has the funds or inclination for it. A Strad is not like a Ferrari. Anyone can (learn to) drive, and anyone who can drive can enjoy a nice car, and anyone with the funds can shell out money for a pretty thing that will sit in their garage for most of the year and on occasion be taken out and enjoyed. Any rich git can own a Ferrari. But no one just  _owns_ a Stradivarius for the sake of owning a Stradivarius.

A Strad is like a Hattori Hanzo sword (for you  _Kill Bill_  fans), or a Firebolt, or a Gondolin-crafted blade. It's in limited supply, considered to be of legendary craft, and above all, meant to be  _used_. Admired and used with extreme care, but  _used_. You can't just buy one; you have to be worthy of it. And only a violinist of immense skill and talent will consider himself or herself worthy of playing a Strad. Not be considered by others, but consider himself or herself worthy. Yeah, classical musicians have complexes. We know.

To own a Strad means that you are a celebrity, both in the classical world and the commercial world. It means you, despite being a musician, can get serious money (from commanding high performance fees and/or getting considerable sponsorship). It means you are not just worthy of the history of a Stradivarius violin, but have also become a part of it.

You play a Stradivarius violin to play a  _Stradivarius_  violin.

Sherlock, however, doesn't play the violin to play the violin. He plays for himself, to help him think, to express his feelings (if you read into it his playing for John), and occasionally to entertain others. He doesn't play to play the violin, to practice his skills or to perform. He doesn't even play for music's sake sometimes.

So what purpose would having a Strad hold to him? Honestly? Why would a Strad be better than any other violin of stellar craftsmanship but less renown? This is _Sherlock_ we're talking about, Mr. Pure-Rationality and Anti-Sentimentality.

What does Sherlock value? Logic and utility. So long as something fulfills its purpose to him - no matter what price or cultural or monetary value it has - it's good enough for Sherlock. Thus: expensive coat (his armor and identity), crap fridge (eating is boring), extensive book collection (Sherlock worships the pursuit of knowledge), poorly-kept flat (it's in a convenient location for his work. Plus, free housekeeper). (Poor Mrs. Hudson).

He doesn't need a Strad to fulfill what he needs a violin to do. In fact, it's even less likely that he'd choose a Strad if given the choice. In several blind tests, [contemporary violins (of still considerable value) outperform the Italian masterpieces](http://www.theguardian.com/science/2014/apr/08/violin-stradivarius-old-new-better-scientific-test). Sherlock, that devotee to the cold hard truth, would recognize this immediately and shun the Strad in a heartbeat.

 

Overall, having a Strad is more trouble than it's worth for a modern-day Sherlock.

 

[*The precise circumstances that Sherlock might fall into possession of a Strad is if he somehow stumbles upon one that was stolen some time ago. That's very plausible; Strads are often victims of theft, but thieves really can't sell one because any appraiser would recognize it immediately. Sherlock could keep it secretly for himself and never tell the media or anyone, not even Molly or John (who wouldn't notice or wouldn't care). That could work...except for the fact that Mycroft would recognize it immediately and hound him incessantly until he gives it up. Irene and Moriarty would also recognize it, because, you know, they have eyes, brains, cultural knowledge, and a reason to be examining Sherlock's stuff.]

 

GETTING TO THE CANON.

In "The Adventure of the Cardboard Box," this excerpt canonically identifies Sherlock's violin as a Stradivarius:

 

> We had a pleasant little meal together, during which Holmes would talk about nothing but violins, narrating with great exultation how he had purchased his own Stradivarius, which was worth at least five hundred guineas, at a Jew broker's in Tottenham Court Road for fifty-five shillings. This led him to Paganini, and we sat for an hour over a bottle of claret while he told me anecdote after anecdote of that extraordinary man...

"SEE, SEE, CRAZY PERSON?" you may say to me. "THE STRAD IS CANON. I'M RIGHT, YOU'RE DRINKING CRAZY JUICE, HAHAHA, SUCK IT."

*Takes a sip from mango-flavored crazy juice*. Yeah, that's possible. What's also probable is that Doyle was a doctor, not a musician, and wrote his stories about what he knew. He also did not have Google, which you blessed folk do.

500 guineas (pounds) in 1888 (when this story was set) has the same buying power as $63,000 (over ￡37,000) today ([Source](http://www.measuringworth.com/calculators/exchange/index.php)). It's true that Stradivarius violin values have skyrocketed even in the past decade, easily exceeding the pace of inflation. However, unless that Jewish broker was illiterate or blind, there's no way he could have missed the giant signature that Antonio Stradivari left on all his damn violins.

Yes, fakes and tributes were made of Stradivari violins throughout the 18th and 19th century, and yes, it takes an expert to know the difference between a true Stradivarius and a well-done fake. HOWEVER, 55 shillings (or 2.75 pounds) is $234 in today's money. MY FIRST FULL-SIZE VIOLIN COST MORE THAN THIS, AND IT CERTAINLY DID NOT HAVE THE NAME 'STRADIVARI' WRITTEN ANYWHERE (FAKE OR NOT).

NONETHELESS, assuming that for whatever reason this Jewish broker is completely blind, half-witted, or ignorant of classical music history (perhaps due to the author's [casual bigotry](http://www.bakerstreetjournal.com/images/SH%20Anti-semite%20-%20Solberg.pdf)) I'll give Doyle credit for making Sherlock's possession of one of the Western world's most treasured artifacts seem vaguely plausible. Most fanfic writers don't even try to do this. It's usually just 'blah blah blah Sherlock has a Strad blah blah blah no big deal blah blah.'

NO.

DO NOT.

STRADS ARE A BIG-ASS DEAL. A MUCH BIGGER DEAL THAN SHERLOCK'S VIOLIN IS TO SHERLOCK.

DO NOT MAKE SHERLOCK'S VIOLIN A MOTHER-FIZZUCKING STRADIVARIUS JUST BECAUSE YOU CAN'T BE ARSED TO LOOK UP ANOTHER TYPE OF VIOLIN.

DO. NOT.

THAT IS ALL I ASK.

 

 

**Notes for the Chapter:**

> THANKS FOR READING, Y'ALL. *KISSES YOU AGGRESSIVELY AND CARTWHEELS AWAY WITH A CAN OF CRAZY JUICE.*


	2. The Guide

**Summary for the Chapter:**

> Because I feel bad for simply yelling at y'all without giving constructive feedback, here's a guide for everything you may need to know about a professional-grade violin (and what pieces Sherlock could plausibly play for...*cough* someone...*cough*...)

"So...what type of violin would Sherlock play if not a Stradivarius? Is there like an Acura-equivalent of a violin? Something of good quality, but not _too_ legendary?"

I'm glad you asked. And as compensation for my obnoxious rant a chapter ago, I'm doing the research for you.

First, some vocab:  
 **Luthier:** someone who specializes in making/repairing string instruments. They tend to work in quaint little shops with craft-tables, tools lying around, and violins of all shapes, sizes, and degrees of completeness hanging off the wall. A professional-grade violin will come from a luthier's workshop (as opposed to a factory). The price of the violin depends on the quality of the violin and of the luthier.  
 **Full-size:** the largest size of a violin; think of it as 'adult sized'. Smaller sizes are 3/4, 1/2, etc.

**Do you buy one violin for life?**

No. Most violinists start out with a student violin, which are factory-made and therefore cheap. As the student progresses, they will upgrade their instruments accordingly. For that reason, most beginner violinists tend to rent their instruments. Once a musician has progressed all that they want to progress, they will settle on whatever instrument they have and generally purchase it.

Another reason why violinists don't buy a student violin is because usually the violinist is still physically growing. Most musicians start their careers when they are young and cannot yet hold a full-size violin. Makes no sense to buy a $600 instrument that your child will physically outgrow in two years.

(Yes, I did just say $600 for a student instrument. Yes, that is considered cheap.)

I've been playing the violin for 8 years now and own a violin worth $3,600. I've no professional ambitions or inclinations, so this is my violin for life.

...did not mean to sound so solemn.

**What's the price range of a professional-grade violin?**

Depends. On average, they usually start at $6,000 and go up to $800,000. Any member of a professional orchestra play at least a $15,000 instrument. The quality of a musician's instrument depends on their skill level, prestige level, and how much money they can make in their career (which is usually connected to their talent and where they're able to (get paid to) perform). Older violins cost more than newer violins, as a basic rule. 

A soloist will have the ludicrously good (read: expensive) instrument like the del Gesu or the Stradivarius. If it's a one-time/first-time soloist, that instrument is being loaned to him or her. If it's a celebrity soloist (Yo Yo Ma, Itzhak Perlman, etc.), he or she likely owns that instrument. Because s/he can afford it. Lucky bastards.

ANYWHO, based on my mad Google searching skillz, luthiers tend to sell within a range. In other words, some make violins that average about $28,000 (like [this guy in DC](http://www.washingtonpost.com/lifestyle/magazine/for-violin-maker-howard-needham-a-rarefied-world/2012/09/07/b7075b10-e7e7-11e1-a3d2-2a05679928ef_story.html)) while some makes violins within a range of $48,000 to $57,000 (like a German luthier in [this article](http://www.economist.com/node/15108669)).

**Are there brand names of violins? Are certain luthiers that are internationally known?**

Not really. The more recognizable the name, the more ridiculously expensive or appallingly cheap the instrument is likely to be. The most important sign that a violin (and its owner) is damn serious is that it's handmade. Luthiers are all over Europe and the United States; there's no one region that holds the market in violin-making. So long as the luthier makes a damn good violin, they can live in the middle of Canterbury or in the middle of nowhere, Transylvania. But to remain plausible, stick to European craftsmen, if at least to keep in stride with the immense snobbery of the classical music world.

**What determines the price of a violin?**

The quality of it.

So helpful, aren't I?

The quality of a violin comes from how it sounds, how long it will last, and how it feels. Sound is by far the single most important thing in an instrument. But all these characteristics are based on:

_1\. The wood used._

Where do it come from? Europe? America? China? Trees-R-Us? Is it the finest maple or spruce, or is it pine that came from a fallen tree that was shat upon by a bear? Believe it or not, the strongest, densest wood does not the best violin make. It's all about vibrations, man; if the wood's rigid, the sound won't resonate as well in the body and it'll sound like poop (to a professional musician's ear, at least.) That's partly why older instruments are much more valued than newer instruments; 'time' has 'treated' the wood, making the sound richer and more resonant.  
How is that wood kept by the luthier? Is it kept dry and fresh, or left to rot in his or her backyard?  
Any question you think of regarding what could affect the quality of the wood, it probably matters. You can go bat-shit insane with this stuff.

_2\. The craftsmanship._

Duh. Again, people go batshit insane over the particulars of this, but you, dear Writers, don't have to. Huzzah for you! The most important thing about craftsmanship is that everything is in its proper place; nothing is leaking, nothing is bursting, nothing is falling apart at the seams, nothing is duct-taped together. The best craftsmanship is the craftsmanship you don't notice.

_3\. The varnish of the wood._

I.e. why violins are shiny. Apart preventing of splinters which would really put a damper on your sonata, the varnish is super important to the sound and endurance of a violin. Why can a 300-year-old Stradivarius still be played? Because of the mother-fizzucking varnish, yo. Stradivari was the king of stellar varnishes; people are literally convinced that that is why his instruments sound so flawless (despite [what buzz-killing scientists say.](http://www.nytimes.com/2009/12/04/science/04strad.html) Jeez, rude, much.) There's a super-duper uber-secret special [technique/procedure/recipe](http://www.gussetviolins.com/varnish.htm) for applying a varnish to a violin if you're _really_ interested in learning it. But don't feel obligated. Just know that a good violin varnish can make all the difference.

Varnish does not have to be reapplied unless it's a super-old instrument or it has experienced noticeable damage.

If you wanna go deeper, I recommend [this article](http://www.kevinleeluthier.com/violin_info/values.htm) about the specific qualities of certain price ranges of violins.

**So how much might Sherlock pay for his violin?**

Depends. My guess is *pulls number out of ass* $20,000, but no more than $750,000. *Shrugs*

Look, the violin you get depends on what you want to get out of it. Some people when they're done pursuing music seriously will go for the best quality instrument they can get. Others (like me) believe that it's the wand who makes the wizard- I mean, the player who makes the violin. Jascha Heifetz once had a brilliant moment of sass when after a concert someone complimented him on the quality of his violin's tone that night; Heifetz turned to his open case, leaned down over his violin, and said, "I don't hear anything." 

A great violinist will make a slightly-less-great violin sound darn great, but a great violinist on a great violin will sound positively amazing. It's all about whether you want amazing or simply great.

It's also about convenience. You need to care for a violin, you're gonna feel much more pressured taking care of a $300,000 instrument than a $30,000 instrument. Also, after a violin passes a certain threshold of ridiculous pricing, insurance gets involved, and the possibility of theft must always be considered.

So I guess I answered you question with a question: what's  _your_  Sherlock like? Would he go for uber-quality because he can, or value himself higher than his instrument? Would Mycroft have bought it for him? Would Sherlock have accepted it if it came from Mycroft? Would it made for him by a luthier or passed down from insert-headcanon-character-here?

All up to you, dear Writers.

**Anything I'm forgetting?**

The bow, most definitely. The strings and the rosin if you're so inclined.

Bows can be ludicrous and cost thousands of dollars. A great quality bow will be made from either pernumbuco (a thick, dense type of wood that has been preferred for making bows for 300+ years) or quality carbon fiber (which has come into favor recently due its lightness and strength). The hair has to be horsehair. It will have to be replaced from time to time because it will thin and lose its tautness. A luthier will generally make bows as well as violins. When you get to professional bows, it's more about preference - how a bow fits your playing style- than physical/technical quality.

Rosin also varies in quality, but not nearly as much. The cheapest has wood covering three sides of the block and comes in little boxes. The better quality is shaped like a cake and is attached a cloth thing that you wrap around the cake when you're not using it.

Strings generally come with a violin, but they have to be replaced after a certain amount of usage. A professional musician needs to replace strings after 3-4 months (due to heavy, frequent usage). A student can get away with twice a year. You  _never_ perform on a violin whose strings have just been replaced; new strings need to be stretched and until they are, they will frequently fall out of tune. The difference between fresh strings and old strings though is kinda orgasmic.

**What's a fabulous violin piece that Sherlock could play for an OTP scene?**

Now we're getting into the REALLY good questions. :D

For some dark power and simple beauty, here's _[Shostakovich's Violin Concerto No. 1](https://www.youtube.com/watch?v=LqNuKGkY7L8):_

For a blow-your-mind power and emotion, here's [_Sibelius's Violin Concerto in D minor_](https://www.youtube.com/watch?v=7RlWpa8Ggx4):

For something that's less show-offy, more energetic but still powerful, here's _[Korngold's Violin Concerto](https://www.youtube.com/watch?v=DYsnGjRBk8c):_

For a lesser known piece of excellence and emotional simplicity with a twist towards the middle/end, here's the _[Walden Violin Concerto in B minor](https://www.youtube.com/watch?v=zCpr_71UYuE)_ :

And to break your heart in raw power and technical excellence and oh-my-god-ness, here's _[Bach's Chaconne](https://www.youtube.com/watch?v=DYsnGjRBk8c):_

 

**Notes for the Chapter:**

> Hopefully this will dispel the flames I may be getting. Anywho, thanks for reading! Comments and critiques are totally welcomed since I'm no expert at all. XD


	3. Your Responses

**Notes for the Chapter:**

> THANK YOU ALL FOR YOUR OVERWHELMING RESPONSE TO THIS TOPIC, LIKE HOLY COW, WOW, I'M JUST STAGGERED, THANK YOU.
> 
> To everyone who disagrees with me, I recommend you read these first to see if someone already said your criticism - then you can see my reply without me having to repeat myself 908 times XD.

So just in case you guys don't make a habit of reading others' comments, I'm going to devote an entire chapter to people's responses to my rant, just so it's clear that (a) I'm not the only one bothered by the casual treatment of a Strad in several Sherlock fics, but also (b) you can make a darn good argument in support of Sherlock's Strad.

So let's begin with my fellow crazy-juice drinkers.

[OtakuElf](http://archiveofourown.org/users/OtakuElf/pseuds/OtakuElf):

 

> I too prefer mango-flavored crazy juice. And have been exasperated at the dropping of the Strad name at the drop of a deer-stalker cap. So good on you for this!

[DingoesAteMyBaby:](http://archiveofourown.org/users/DingoesAteMyBaby/pseuds/DingoesAteMyBaby)

 

> It has long been a pet peeve of mine that so many fan authors give Sherlock a Stradivarius, especially when it is mentioned casually like "Sherlock threw his Strad down on the couch in a gesture of annoyance." Which is exactly how one should treat a priceless, one of a kind antique.

fangs_fawn:

 

> THANK YOU!!! This always y s bugged me, too, and I'm not even a musician!

[Metheglyn](http://archiveofourown.org/users/Metheglyn/pseuds/Metheglyn):

 

> Logic! Authorial logic! What a novel idea! :-)
> 
> [...] I've noticed the casual references to Strads and idly pondered on the unlikelihood of Sherlock having one and treating his violin the way he does on screen (although I've seen it plausibly used at at least once but it's definitely rate). Especially after I looked up the Stradivarius instrument list (with owners/possessors where known) on Wikipedia a while back [...]

Fiona:

 

> Thanks for the info in general as well as fic related; I have wondered how musicians (other than, say Yo Yo Ma) actually manage to afford a Strad. And I've thought that some depictions have Sherlock treating his violin entirely too casually, especially for a good musician, doing things I wouldn't do with my flute -- and that's a nice solid metal (with lots of sensitive little levers and just and...) [...]

There are also quite a few people who, while they recognize the issue, don't get as bothered about it.

[wynneton](http://archiveofourown.org/users/wynneton/pseuds/wynneton):

 

> [2nd comment] Well, I'm not a violinist, although I used to accompany violinists and cellists, and play in piano trios and quartets. And while I don't know of any instruments comparable in my area, I do know that a particularly fine instrument is a lovely thing. Nevertheless, I also know that rare finds of previously unknown gems are occasionally made even today, especially in the world of the arts. Also, in the few fics I've seen where Sherlock has a Strad, it's usually been inherited (non-canon of course, but it works). Sure, I agree that there are writers who haven't got the faintest idea how Sherlock might actually treat such an instrument. Still, in all of the arts, I see so much lack of understanding by writers - even published and even very popular writers - that I tend to not worry much about it unless the misinformation regarding the particular artistic plot point is especially central to the story.

[KerkerianHorizon](http://archiveofourown.org/users/KerkerianHorizon/pseuds/KerkerianHorizon)

 

> Personally, I don't mind if fanfic writers use Doyle's Strad, doesn't matter whether you could or could not find one in a pawn shop back then, I think it's rather one of his endearing little mistakes (such as calling Mrs Hudson "Mrs Turner" at one point, or calling John "James").   
>  I do however appreciate it if people take the time to research whatever they're writing about (which a lot just don't, obviously); it can be tedious at times, of course, but that's the effort one should invest, if you ask me. And as you said, nowadays it's really, really easy to look stuff up, so sloppiness due to laziness is not excuseable.   
>  A great source for all things Sherlock is "Sherlockology" for example, and if one looks under "Props", one'll find which types of violins they used if one wants to go by BBC canon, easy-peasy. [...] 

 

Some people have other issues with Sherlock's violin besides the arbitrary Strad-ness that appears in fanfic:

Vicki:

 

> [in response to a comment that disagreed with the rant] True, but its overused in fan fiction.
> 
> I was actually a little disappointed in the TV show writers lack of imagination in making Sherlock play the violin instead of modernizing his music taste as well. Why couldn't he play a guitar and be a diehard Metallica fan or something like that? Not to mention they should of had a violinist show the actor how to at least look like he was playing correctly. I winced at the scenes and I'm not even a musician.

And several individuals have brought up very good counter-arguments to my rant. 

[Tammany:](http://archiveofourown.org/users/Tammany/pseuds/Tammany)

 

> You know your music background and you know from Strad. This is good. You're also right that an identified, known Strad would be more grief than it's worth to Sherlock. Mycroft hovering in full twitter mode alone would drive him nuts--and Mycroft would hover over a known, identified Strad in Baby Brother's hands. (This in spite of the fact that Baby Brother does seem to take sufficient care of his violin to give one some hope a Strad would survive his cavalier oversight...)
> 
> That said, you're ramming head-first into a combination of long-standing canon and fanon issues that *can* be explained away without exiling the legend of the Strad, and thus undoing ACD canon--which is always undesirable when playing the Great Game of rationalizing Holmesian legend.
> 
> The casual bigotry is quite true to era. That said, in terms of the realities, not just the prejudices of the period, the writer was presupposing a Jewish pawnbroker who's dealing with second-hand materials. Pawnbrokerage was a common profession for many Jews because there were laws in place that kept them from taking part in a number of other trades and professions.
> 
> Throughout much of the late Victorian and Edwardian periods huge heaps of people were in transit all around Europe and the Americas, and all sorts of treasures were changing hands. On top of that forgeries were rife, and methods of IDing them much rarer and harder come-by than currently. All you really have to do is hypothesize an *unknown* Strad, signed but not on record, sold by a poor European immigrant who may not have even known what he or she had in the first place, to a pawnbroker who may have recognized the signature but who would have no way of confirming it--and every reason to doubt it as a forgery in an era when forgeries of all sorts were common.
> 
> Sherlock, on the other hand, was a skilled and passionate musician, even if not professional grade, or of professional inclination. Further, he was and is nothing if not a passionate researcher of the entire criminal scene, including art forgeries. If a Jewish pawnbroker bought what he thought was a forgery for a pitance, and priced it at a pitance, Sherlock would nonetheless recognize it and then buy it at a pittance--and gloat ever after at his little victory, in which his deductive skills, his musical and criminal studies, and his endless time skulking around the bowels of London won him an unknown treasure--a treasure he would share with John because you've got to brag to someone, but which he'd not ever publically confirm because once confirmed it would all be such a nuisance.
> 
> The ridiculously low price? I'd lay odds you didn't get your first violin from a pawn shop in a poor neighborhood.
> 
> Modern day equivalent, again given the shifts of fortunes and families around the world, would be to pick it up from, say, the sort of person who buys up old storage lockers. All you need is one mistake--one person who thinks it's a forgery and sells it as a forgery....and a Sherlock who finds it.
> 
> So, in modern day, let's say a Russian heading for the UK brings his grandfather's violin, which is not recognized as a missing Strad by customs. He or she puts it in storage, then dies, forgets, runs out of money--whatever is needed to let a clear-out dude empty the locker. Clean-out dude doesn't recognize what he's got--assumes it's got to be a fake when he does his homework--and lists it on Craigslist. Sherlock shows up because he needs a good violin for cheap...and gloats for the rest of his life but doesn't make it public, because again, just as you've said, it is way too much grief.
> 
> Would Sherlock be respectful and decline to use it, because he's unworthy? Um...this is Sherlock, right? Would he turn it over to the Righteous and Cultured? Again...Sherlock. Would he take good care of it and play it often? It appears so.
> 
> Me, I have no vested interst in this. But I do think the fanwriters can keep Doyle's Strad.
> 
> _**My (meagre) reply:** _
> 
> _That...blew me away. Very well said. Like goddamn. I will revise my earlier statement and say that if a story presents Sherlock owning a Strad like this (fully fleshed out and sensibly explained), I will have no problem with it. A very well-thought out counter argument. Thank you. *Tips hat to you*_
> 
> **Tammany:**
> 
> Thank you. Very gracious of you--I do mean that. It's hard to have someone present a counter argument. My thanks for your tolerance and open-mindedness.
> 
> I'm going to risk adding a couple more points. I do, very much, understand your frustration, especially as quite a lot of fanfic is sloppy and can't even really be said to have been very much "thought through." I suspect a lot of writers are indeed just throwing it in because someone else threw it in, etc., and it sounds so cool for Sherlock to have a Strad. (Which in all honesty is, i suspect, why flipping Arthur Conan Doyle threw it in: Wow, I'll give Sherlock a Stradivarius he bought at a pawn shop for thruppence! Coooool!") It's annoying to see idiocy passed along mindlessly, like mononucleosis or PR spin.
> 
> That said, this one IS canon--and there have been folks far more talented than I am finding ways to rationalize the existence of that Strad for over a century. Like quite a lot of other Holmesiana, it's got history, precedent, entire articles written on it...if anything there have to be a lot of fan writers using it who are showing their literacy and understanding of the tradition by adding it in, in knowledge of its venerable standing as part of the entire "Baker Street Irregulars-style" fannish culture. Worse, you took on one that's easy for someone like me to counter: anyone familiar with pawnshops, poverty, and the culture of European immigration both then and now could come up with a plausible explanation based on a few simple points of canon and a few more simple points of history. Arthur Conan Doyle got away with the Strad the first time around because finding a treasure in a pawnshop is statistically unlikely, but not statistically impossible, especially when at least one of the folks involved may not realize what they have. From there on it it's clear sailing.
> 
> It is never wrong to take on what you think is stupid, wrong-headed, mindless bug-fuckery--and from where you stood that's what you thought the Strad had to be. I congratulate you on your courage, clarity, and spine. That said, I honestly recommend letting the Strad go. It's so much integrated into Canon and Fanon that trying to evict it, even when used badly (as it so often is) is a waste of your time. It's too easy to defend, and too hard to get rid of...and it's no more likely to be justified each time it's mentioned than is the existence of Mrs. Hudson or the Footprints of the Giant Hound. (grin)
> 
> **_My reply:_ **
> 
> _Thank you again for your insightful comments. Again, I'll reiterate my statements: Sherlock can own a Strad so long as an author understand the gravity of what that means and defends it (as you artfully have). I can see why Sherlock could own a Strad at the turn of the 19th century; misinformation plus the constant worry of and Sherlock's own shrewdness that allows him to tell the difference make such a scenario plausible. What I'm arguing is that What I reject is the argument that something should be canon simply because it is canon, when it cannot be rationalized for any other reason. Simply because the nature of Sherlock's violin comes from one sentence of one story out of 56 short stories and 4 novels that were written 120 years does not mean that the same realities can apply to modern day._   
>  _Mrs. Hudson is a human being; human nature translates across centuries. Footprints have been made ever since there were people who could make them :) But what you also may have noticed in the translation of the Hound of the Baskervilles to modern day, Henry is no longer a noble and does not experience love at first sight. What's instrinsic to Sherlock's character is his violin, not the fact that it's a Strad. And to me (and I think most people who've commented here), a Strad is a big deal, too big a deal nowadays to be treated as lightly as many fanfic authors do._   
>  _So I will have to respectfully disagree with your recommendation to just 'let the Strad go'. :) However, if I'd ever seen the pawnshop defense before now, I have thought twice about writing this, or I would have done a shoutout._   
>  _Thank you for this again._

[wynneton](http://archiveofourown.org/users/wynneton/pseuds/wynneton)

 

> [1st comment] You know, in today's actual Baker Street, there is no way Sherlock Holmes can live at 221b. So maybe that should be jettisoned along with the Strad?
> 
> Thing is, it's fiction. Doyle put the Strad in Holmes' hands, not fanfiction writers. There's no more reason, in my opinion, for writers to quit including the Stradivarius than it is necessary to move Sherlock out of his flat on Baker Street. I'm not sure how realistic a lot of other plot points, characters, and accessories are in Sherlock. I realize that someone who knows a lot about violins may find it difficult to suspend disbelief when the topic comes up, but it really is canon, after all, just like many other things in Sherlock Holmes that aren't exactly totally realistic - either in the late 19th century or today.
> 
> _**My reply:** _
> 
> _Canon is important; without canon we would not have Sherlock Holmes in the first place. However, some stuff needs to be updated to fit the times.[Gatiss himself has acknowledged this](http://www.theguardian.com/tv-and-radio/2010/jul/18/sherlock-holmes-is-back-bbc) and he's a huge ACD nerd. For example, Sherlock uses nicotine patches because smoking in London is effectively impossible today. Watson has a sasstastic personality now, which makes more sense to modern viewers who don't think anyone (no matter how great) should be idolized and followed blindly without question (especially someone as clearly flawed as Sherlock). When Sherlock comes back from the dead in The Empty House Watson's first reaction (after fainting) is joy to see his dead companion. What's more, the entire resolution of the mystery hinges on a dummy lookalike of Sherlock and an expert sniper who apparently can't tell. Yeah. That doesn't translate to modern audiences. Furthermore, my arguments are about why owning a Stradivarius is a supremely big deal from the perspective of a musician (which Sherlock is). But I don't feel that non-musicians even feel comfortable with anyone casually owning a Strad. Having a Strad nowadays is a big deal. It may not have been in Doyle's time, but it is now. However, I'm fully for Sherlock having anything and doing anything so long as (1) it makes sense to his character, and (2) it makes common sense to me. These are not qualities intrinsically found in certain plots or details and not in others; they are developed through careful and conscientious writing. I'll accept a Sherlock fic that treats a Strad the way it should be treated. I've yet to find one though._

Merry:

 

> I recognize that you're probably very into music. That's great. And I was aware of the Strad situation. However, I overlook it because it adds mystery to his character. How did he get it? Well, how does Sherlock do anything. Why does he treat it so casually? Well, you're projecting your own priorities on him. Why doesn't Mycroft do something about this? I think Mycroft has given up on making Sherlock do a lot, including, but by no means limited to, wearing clothes at Buckingham Palace. Would it upset Mycroft? Yeah...which is probably bonus for Sherlock. Why didn't Irene notice the quality of his violin? Well, maybe she would notice if it were a Strad known to be in circulation, but I wouldn't put it past Sherlock to have acquired one previously thought to be lost, or quietly passed down in the family from a well-meaning and eccentric relative who simply enjoyed hearing him play and would rather not attract the circus from making its ownership public. And why would Moriarty care? I guess what I'm trying to say is, Sherlock is a strange person to whom strange things happen. And it's canon. So maybe you should switch to decaf crazy juice.
> 
> **_My reply:_ **
> 
> _See that's the thing. I'm talking about the modern adaptation of Sherlock. 19th century Sherlock probably could plausibly own a Stradivarius - just like he could smoke all around London and take opium without much more consequence than a frown from Watson. That no longer works today._  
>  I'm fine with Sherlock doing whatever or having whatever. But if it doesn't make sense to his character or to me at first glance, then it has to be justified.  
>  I'm okay with something like this-  
>  John glanced down and frowned. 'What's that say on the...the, um, side, of the violin?' he asked, fumbling for the proper technical term. Damn it, he was a doctor, not a musician.  
>  Sherlock's eyes flickered to the violin. "Oh. Stradivari."  
>  "Oh. Wait, what?"  
>  "Your sudden bout of either deafness or dumbness is going to be of little help to me at the crime scene today," said Sherlock with an exasperated sigh.  
>  "Stradivari," breathed John. "As in, Stradivarius."  
>  "Excellent deduction, John. Your aptitude for grasping the obvious never ceases to amaze." Sherlock brushed his thumb casually across the strings of his violin. His multi-million-dollar violin. John's mouth went as dry as a bone.  
>  "Of course you'd have a bloody Stradivarius, you pompous git," muttered John under his breath as he most emphatically did not stomp into the kitchen. Sherlock watched him and then simply shrugged.  
>  See what I mean? That's just an example I made up now. Even if Sherlock does treat a Strad with appalling casualness, the author should not. The author should understand that a Strad is a big deal. And that's not how I've seen Strads get treated in many Sherlock fics.  
>  Everyone is entitled to their opinion, and I'm very happy that this has provoked so much discussion. But at the end of the day, this rant is about something that bothers me in Sherlock fics. Clearly it doesn't bother everyone. So please, while you make some very good points, I ask that you (a) understand me perfectly and (b) do not patronize my crazy juice. *strokes can lovingly*

* * *

 

UPDATE (18 April 2014)

Several lovely commenters have also commented with very valuable additions to Chapter 2's info page that you should be aware of:

[thevanishingtwin](http://archiveofourown.org/users/thevanishingtwin/pseuds/thevanishingtwin):

> Great piece! As a violinist myself, when I see Strads in a fic I tend to suspend disbelief and keep reading, because I don’t read fic for believability. Not everyone is aware of its significance. Furthermore, there are a lot of specialisms referenced in Sherlock and used in fic (like military, chemistry, police force, etc.) and yelling over every mistake is rather useless. Education is worth so much more. That’s why I enjoy this very much. Very good research!
> 
> I do have to add some things. In your discussion of prices, you are confounding price and worth and you gloss over two very important factors affecting it: the age of the violin and whether the maker of it is still alive.
> 
> First of all, an unknown violin maker might make heaven’s own violins, but he (or she) won’t be able to ask a price fitting its quality, simply because no one knows him. Only if professional violinists are starting to buy his violins and gushing about them, he can safely raise his prices. A higher price will also give the suggestion that, yes, this is quality, so more violinists will start to check out his violins. If they really are that angelic, there will be more demand and he can raise his prices even more. Imagine what he can ask if he only builds a violin every five years or so. The moment he dies, his violins will be worth more than before, because now there are a fixed number and he can’t make any more. Worth is not the same as price, though. Prices can be made up. Worth is determined by various things, like quality of its making, age, and the maker (and sometimes also the history of the violin). For example, my violin is worth € 3000 (I really do need a better one), but I’ll never be able to sell it for that price, because the maker is not well-known. Interestingly enough, how the violins sounds (quality of its tone, playability, etc.) barely factors in its worth! So, for example, my violin is not worth much, but it sounds great! It sounds like its worth at least double. But it’s not, because sound is barely taken into account when determining its worth. (On a side note: Anyone care to give me €10.000 for a better violin?) (On a different side note: Stradivaris are an exception in everything. The worth and price of a Stradivari is affected by a lot of things, including past owners).
> 
> Secondly, age is very important. A violin changes A LOT in its first few years. Like really, you have no idea. A friend of mine is trying out a newly built violin and you can hear the difference EVERY DAY. The wood, glue, varnish, and every else, needs to settle. The violin adapts to the strong vibrations that playing it generates and the tone can vary a lot in the process. The more you play on it, the better, especially heavy stuff like playing fortissimo and double stops. **Violins need to be played. A violin that isn’t played for a couple of years will need to adapt too and will sound better after being played on for a couple of hours, days or weeks.** [ **editor note: I bolded this, not thevanishingtwin, because this is super duper important for understanding the value of Stradivarius' if such interests you.]**
> 
> What am I trying to say with all this? A lot of professional violinists prefer old masters because their quality is steady and reliable after (sometimes) centuries of being played on. A new violin can be a gamble, especially with unknown violin makers. On the other hand, a new violin can be a lot cheaper than an old one and a good investment, because its worth might rise with the reputation of its maker. The same goes for bows. I bought an amazing bow for € 2000 from a talented young bow maker and it will probably be worth a lot more in a decade or so.
> 
> So deciding if your character (in this case Sherlock) has an old violin or a new one, might tell the reader a lot about that character. Maybe he prefers tradition or he inherited his violin. Maybe he wants to support a young violin maker he thinks is promising. Maybe he wants to experiment with just how much and in what way a violin changes when played on. There is so much you can do with it.
> 
> Sorry, this got very long. I could say so much more about this. I didn’t research any of this recently; this is what I remember from what I’ve read or I’ve been told, so please let me know if any of it is incorrect. I don’t know about the US, but this is more or less the situation in Europe.

[ChapBook](http://archiveofourown.org/users/ChapBook/pseuds/ChapBook) [editor note: a legit music historian!!]:

> I could write Sherlock a Strad by giving him one of the supposedly lost ones that maybe had misattributed as a fake and/or possibly held in an old family (like the Holmeses, whose fortunes over the centuries could have waxed and waned) who hadn't had the curiosity to check it out. Discovery of a new instrument would theoretically be a media event, but only if it was publicized in some way. Or heck, have him play on a fake Strad, one that he associates with a case. :)
> 
> Of course, as a musicologist (or music historian--you most likely are quite familiar with the term, but most people outside of academia give me blank looks if I use that academic label), I'd probably choose a violin by a different maker for Sherlock. Maybe an old violin that escaped being altered for later musical tastes, or a high quality reproduction of a Baroque violin and bow. I've also thought about him encountering other musics as he travelled during the Hiatus, including having him take up the Arab oud, or learn how to play the violin for a rather different musical style: Arab classical, Hindutani, or Carnatic musics, for example. Learning an entirely different musical system could be a major challenge for SH. Many more modes to deal with in those music-cultures, the use of intervals foreign to most Western art music, plus the notion that improvisation as the rule, rather than trying to reproduce what's on a score.
> 
> As for worrying about the overuse of the Strad, I'm personally more annoyed by abues of an instrument, or misuse of musical terminology. One common error: Sherlock and his brother would never call a violin sonata a "song" and even when SH plays an arrangement of a piece of vocal literature, I think he'd think of it as that, an arrangement. I'm not even sure if John would think of every piece of music as a "song", because a) he had some training in instrumental music as a kid, b) he may be just old enough that he may have missed the influence of music downloading altering the definition of the word "song", and c) not sure if this change in definition has spread to the UK (or to the UK in time to influence John). C) of course would need confirmation by a Brit-picker.

* * *

 

So in conclusion:

1\. I'm not the only one bothered by the casual treatment of Strads in many fanfics, so please do not dismiss my arguments simply because you disagree. You could be alienating a large portion of your readership without even realizing it

2\. That being said, while I personally do not believe that modern Sherlock would own a Strad, I would be more tolerant of a fic that justified his ownership. I'd be fine with a fic showed that an author understands the gravity of owning a Strad, even if Sherlock doesn't. Sherlock's allowed to be careless; an author is not.

3\. Doyle's Sherlock did what Doyle's Sherlock could do in that time period. Times have changed. Some things have to be updated to fit a modern context. Not everything, just a few things. Like the Strad.

4\. DIVERSITY OF OPINION IS FANTABULOUS. DISCUSSION IS FANTABULOUS. THOUGHTFULNESS IS GLORIOUS. YOU DON'T HAVE TO AGREE WITH ME. JUST BE THOUGHTFUL, Y'ALL. 

So.

THANK YOU ALL AGAIN FOR YOUR OVERWHELMING RESPONSE TO THIS META RANT. IT'S BEEN AN ABSOLUTE PLEASURE DEBATING AND COMMISERATING WITH Y'ALL, AND I'LL HAPPILY CONTINUE TO DO SO. HUGS AND CUPCAKES FOR ALL.

CHEERS!

\- ladysassafrass

**Author's Note:**

> THANKS FOR READING, Y'ALL. *KISSES YOU AGGRESSIVELY AND CARTWHEELS AWAY WITH A CAN OF CRAZY JUICE.*


End file.
